[George]

We add a small amount of bodied linseed oil to all our umber oil colors to help mitigate sinking-in and slow drying times (which can lead to drying cracks). I cannot say which one is best in this regard. You can avoid some of these issues, too, by painting thinly and painting on less absorbent substrates.

[jan]

Hi Connie, thought I’d throw my 2 cents in since I have a lot of umbers in my stash. When I purchase a new color I always do a swatch: Neat, rubbed off and tint with titanium. A while back was looking for a raw umber that leaned warm/yellow instead of cool gray and ended up with 9 brands! Of the tubes I amassed Michael Harding sunk in the least, followed by Van Gogh, Old Holland, then Blue Ridge, the remaining 5 sunk in noticeably. Most were PBr7 a couple PBr6. Swatches were on a canvas pad (like a coated paper). All the burnt umbers sunk, cept the Van Gogh not so much. Didn’t try a Rublev, MH or OH. I actually use a PR101, Like transparent oxide brown, instead of burnt umber. Doesn’t sink and nicely transparent. All my raw siennas, asphaltums, van dyke brown, cassel earth, and warm sepia sunk. I wonder if some brands don’t add wax, oil, or some additive that prevents sinking?? (MH, VG??) Never had an issue with umbers cracking. I paint thinly usually. Hope this helps a little. Good luck in yr quest.

[connie]

Hi Jan, thank you so much. That was very informative. And I appreciate it.

[Marsha]

Hello, Constance,

The most useful umber paint ever is Rublev’s French Umber. It came in the mail at the perfect time because I was trying to depict a golden brown leather couch and needed a shadow glaze color that wouldn’t eradicate all the texture I’d already applied. This French Umber made PERFECT shadows, so rich, yet transparent. It also accentuated the cracks in the leather and made it look even more realistic. The handling of this paint is so incredible, blending from shadow into light with no harsh edges, no struggling. And Rublev’s French Sienna handles exactly the same way, except the color is a bit greener and lighter, so it depends on what you need it for. Both pigments provide beautiful shadows and glazes that blend seamlessly toward the light. These two have become my miracle paint colors that I could not live without–I just didn’t know it until I got them. Hope this helps you.

[jan]

Enjoyed reading your opinions. I, on the other hand love Rublev’s Cyprus Umber Light. It leans a warm yellow, almost a very dark raw sienna. I use it as my low chroma yellow. Keeps its warmth even when tinted out with titanium. The French Umber goes a little too gray for my tastes. Like Rublev’s other earth colors they handle like real pigments, not plastics! 😁

Amazes me how so many different variations can be had from PBr7.

[Marsha]

Totally agree, Jan. I have that one as well and love it, especially when I need that added hint of yellow.😸